Prez Notes I Hope Everyone’S Inspiration and Creativity Has Been As Hot As the Weather! I Know That I Have Been Busy Creating New Work
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Popular Music and Society Artists As Entrepreneurs, Fans As Workers
This article was downloaded by: [James Madison University] On: 03 November 2014, At: 16:54 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Popular Music and Society Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rpms20 Artists as Entrepreneurs, Fans as Workers Jeremy Wade Morris Published online: 15 May 2013. To cite this article: Jeremy Wade Morris (2014) Artists as Entrepreneurs, Fans as Workers, Popular Music and Society, 37:3, 273-290, DOI: 10.1080/03007766.2013.778534 To link to this article: http://dx.doi.org/10.1080/03007766.2013.778534 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. -
CV JANUARY 2020 [email protected]
SEAN McGHEE SINGER, SONGWRITER, PROGRAMMER, MUSICAL DIRECTOR, PRODUCER. CV JANUARY 2020 [email protected] LIVE ALISON MOYET MUSICAL DIRECTOR MD / BV / SYNTHS / BASS MODEST! 2018- LIVE BAND MEMBER BV / SYNTHS / BASS MODEST! 2013- LIVE SET ARRANGER & PROGRAMMER ARRANGING / PROGRAMMING / MIX MODEST! 2013- PHILDEL MUSICAL DIRECTOR MD / BV / PROGRAMMING / BASS YEE INVENTIONS 2019 KIESZA PLAYBACK PROGRAMMING & MIX PROGRAMMING / MIX UNIVERSAL 2014 RIZZLE KICKS PLAYBACK PROGRAMMING & MIX PROGRAMMING / MIX ISLAND 2011-2014 BLUEY ROBINSON PLAYBACK PROGRAMMING & MIX PROGRAMMING / MIX LONDON VILLAGE 2013 KATE HAVNEVIK LIVE BAND MEMBER (CHINESE TOUR 2015) BV / BASS CONTINENTICA 2015 FROU FROU PLAYBACK & SYNTH PROGRAMMING PROGRAMMING ISLAND 2003 ANDREW MONTGOMERY MUSICAL DIRECTOR MD / BV / PROGRAMMING / BASS RULED BY DREAMS 2014-2015 TEMPOSHARK MUSICAL DIRECTOR MD / PROGRAMMING PAPER & GLUE 2007-2010 STUDIO BRITNEY SPEARS SINGLE – “EVERYTIME” (UK #1) PROGRAMMING / MIX BMG 2004 EP – CHAOTIC PROGRAMMING / MIX BMG 2005 SUGABABES ALBUM – THREE (UK #3) PROGRAMMING / MIX ISLAND 2003 ALBUM – TALLER IN MORE WAYS (UK #1) PROGRAMMING / MIX ISLAND 2005 FROU FROU ALBUM – SHREK 2 OST (US #8) PROGRAMMING / MIX DREAMWORKS 2004 ALBUM – DETAILS PROGRAMMING / MIX ISLAND 2002 ALISON MOYET ALBUM – THE TURN: DELUXE EDITION MIX COOKING VINYL 2015 ALBUM – MINUTES & SECONDS LIVE BACKING VOCALS / SYNTHS / MIX COOKING VINYL 2014 ALANIS MORISSETTE ALBUM – FLAVORS OF ENTANGLEMENT (US #8) PROGRAMMING / BVs WARNERS 2008 ROBYN ALBUM – DON’T STOP THE MUSIC PROGRAMMING / MIX BMG -
Music, Media and Technological Creativity in the Digital Age
Nordisk musikkpedagogisk forskning. Årbok 18 2017, 9-22 Nordic Research in Music Education. Yearbook Vol. 18 2017, 9–22 Music, media and technological creativity in the digital age Anne Danielsen Keynote on the 20th conference of the Nordic Network for Research in Music Education: “Technology and creativity in music education” March 8–10, 2016, Hedmark University College, Hamar, Norway The creative use of new digital technology has changed how music is produced, distributed, and consumed, as well as how music sounds. In this keynote, I will begin by examining some creative examples of music production in the digital age, focusing on two new sonic expressions within the field of popular music that have been produced through the unorthodox application of the digital audio workstation, or DAW, and more precisely through manipulations of rhythm and manipulations of the voice, respectively. Then I will discuss new patterns of use and personalized music “consumption,” using playlist creation in streaming services as my point of departure. Lastly, I will address how the two spheres of production and consumption meet in the so-called prosumption practices that have arisen in the digital era in the form of remix, sample and mashup music. 9 Anne Danielsen Creating with technology The topic of this conference is technology and creativity, which concerns machines often framed as a tension between human performance (creativity) and automated and humans and their relationship. Within the field of music, this relationship is specialty. Throughout the 1970s and even up to the advent of digital recording in the procedures (technology). This is certainly so within the field of rhythm, which is my dichotomy of human versus machine. -
Copyright by Jessica Lyle Anaipakos 2012
Copyright by Jessica Lyle Anaipakos 2012 The Thesis Committee for Jessica Lyle Anaipakos Certifies that this is the approved version of the following thesis: Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age APPROVED BY SUPERVISING COMMITTEE: Supervisor: Shanti Kumar Janet Staiger Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age by Jessica Lyle Anaipakos, B.S. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December 2012 Dedication To G&C and my twin. Acknowledgements This thesis would not have been possible without the guidance, encouragement, knowledge, patience, and positive energy of Dr. Shanti Kumar and Dr. Janet Staiger. I am sincerely appreciative that they agreed to take this journey with me. I would also like to give a massive shout out to the Radio-Television-Film Department. A big thanks to my friends Branden Whitehurst and Elvis Vereançe Burrows and another thank you to Bob Dixon from Seven Artist Management for allowing me to use Harper Smith’s photograph of Skrillex from Electric Daisy Carnival. v Abstract Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age Jessica Lyle Anaipakos, M.A. The University of Texas at Austin, 2012 Supervisor: Shanti Kumar This thesis looks at electronic dance music (EDM) celebrity and fandom through the eyes of four producers on Twitter. Twitter was initially designed as a conversation platform, loosely based on the idea of instant-messaging but emerged in its current form as a micro-blog social network in 2009. -
ARTIST INDEX(Continued)
ChartARTIST Codes: CJ (Contemporary Jazz) INDEXINT (Internet) RBC (R&B/Hip-Hop Catalog) –SINGLES– DC (Dance Club Songs) LR (Latin Rhythm) RP (Rap Airplay) –ALBUMS– CL (Traditional Classical) JZ (Traditional Jazz) RBL (R&B Albums) A40 (Adult Top 40) DES (Dance/Electronic Songs) MO (Alternative) RS (Rap Songs) B200 (The Billboard 200) CX (Classical Crossover) LA (Latin Albums) RE (Reggae) AC (Adult Contemporary) H100 (Hot 100) ODS (On-Demand Songs) STS (Streaming Songs) BG (Bluegrass) EA (Dance/Electronic) LPA (Latin Pop Albums) RLP (Rap Albums) ARB (Adult R&B) HA (Hot 100 Airplay) RB (R&B Songs) TSS (Tropical Songs) BL (Blues) GA (Gospel) LRS (Latin Rhythm Albums) RMA (Regional Mexican Albums) CA (Christian AC) HD (Hot Digital Songs) RBH (R&B Hip-Hop) XAS (Holiday Airplay) MAY CA (Country) HOL (Holiday) NA (New Age) TSA (Tropical Albums) CS (Country) HSS (Hot 100 Singles Sales) RKA (Rock Airplay) XMS (Holiday Songs) CC (Christian) HS (Heatseekers) PCA (Catalog) WM (World) CST (Christian Songs) LPS (Latin Pop Songs) RMS (Regional Mexican Songs) 15 CCA (Country Catalog) IND (Independent) RBA (R&B/Hip-Hop) DA (Dance/Mix Show Airplay) LT (Hot Latin Songs) RO (Hot Rock Songs) 2021 $NOT HS 23 BIG30 H100 80; RBH 34 NAT KING COLE JZ 5 -F- PETER HOLLENS CX 13 LAKE STREET DIVE RKA 43 21 SAVAGE B200 111; H100 54; HD 21; RBH 25; BIG DADDY WEAVE CA 20; CST 39 PHIL COLLINS HD 36 MARIANNE FAITHFULL NA 3 WHITNEY HOUSTON B200 190; RBL 17 KENDRICK LAMAR B200 51, 83; PCA 5, 17; RS 19; STM 35 RBA 26, 40; RLP 23 BIG SCARR B200 116 OLIVIA COLMAN CL 12 CHET -
Just Say No to Deadmau5: New Vegas Club Sets Harsh (And Hilarious) DJ Rules
Just Say No to Deadmau5: New Vegas Club Sets Harsh (and Hilarious) DJ Rules February 4, 2014 7:01 PM (Theo Wargo/Getty Images) By Scott T. Sterling Doing some after-hours clubbing in Las Vegas, but want to avoid hip-hop, Lil Jon shout-outs and anything related to Deadmau5, Tiesto or Calvin Harris? Have we got the spot for you. Earlier this week, sparkling new Vegas hotspot AFTER launched with a considerable bang when the venueʼs strict rules for DJs playing after 3 a.m. were posted on the internet. Among those rules include playing no trap or dubstep whatsoever (sorry, Skrillex), with Avicii, LMFAO and all incarnations of Swedish House Mafia (including music produced by any of the individual ex-members) among those on the “do not play” list. Rising EDM star Martin Garrix (“Animals“) is also among the forbidden artists, although his entry is inexplicably augmented with the pointed insult of calling the 17-year-old DJ/producer a “douche.” Getting beyond the banned music, aficionados of DJ culture will be happy to see that the club wonʼt allow less-than-stellar jocks to simply rest on technology, outlawing premixed sets (chastising those who use them as “lazy ass”) or features on such programs as Serato and Traktor that make mixing a much easier proposition. Most DJs will approve of the “no music requests” stipulation, while audiences will appreciate the demand that jocks “not say a f**king word on the microphone.” Other requests are more along the lines of common sense, such as not placing beverages near delicate electronic equipment. -
Updates and Changes from 2015
Intellectual Property Review— Updates and Changes from 2015 Cosponsored by the Intellectual Property Section Friday, February 5, 2016 9 a.m.–1:30 p.m. 4.25 General CLE credits INTELLECTUAL PROPERTY REVIEW—UPDATES AND CHANGES FROM 2015 SECTION PLANNERS Anne Koch, Wyse Kadish LLP, Portland Parna Mehrbani, Lane Powell PC, Portland John Rake, Larkins Vacura LLP, Portland OREGON STATE BAR INTELLECTUAL PROPERTY SECTION EXECUTIVE COMMITTEE Anne E. Koch, Chair John D. Russell, Chair-Elect Ian D. Gates, Treasurer Thomas E. Vesbit, Secretary Timothy S. DeJong Christopher D. Erickson Amelia Forsberg John E. Grant Anna Laakmann Parna A. Mehrbani Elizabeth Tedesco Milesnick John Cathcart Rake Thomas J. Romano Vincent Sliwoski Mark W. Wilson Devon Zastrow Newman The materials and forms in this manual are published by the Oregon State Bar exclusively for the use of attorneys. Neither the Oregon State Bar nor the contributors make either express or implied warranties in regard to the use of the materials and/or forms. Each attorney must depend on his or her own knowledge of the law and expertise in the use or modification of these materials. Copyright © 2016 OREGON STATE BAR 16037 SW Upper Boones Ferry Road P.O. Box 231935 Tigard, OR 97281-1935 Intellectual Property Review—Updates and Changes from 2015 ii TABLE OF CONTENTS Schedule . v Faculty . vii 1. 2015 Patent Year in Review. 1–i — Amelia Forsberg, Chernoff Vilhauer McClung & Stenzel LLP, Portland, Oregon — Susan Pitchford, Chernoff Vilhauer McClung & Stenzel LLP, Portland, Oregon 2. Trademark Law Review . 2–i — B. Anna McCoy, Alleman Hall McCoy Russell & Tuttle LLP, Portland, Oregon 3. -
Performance in EDM - a Study and Analysis of Djing and Live Performance Artists
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2018 Performance in EDM - A Study and Analysis of DJing and Live Performance Artists Jose Alejandro Magana California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Performance Commons Recommended Citation Magana, Jose Alejandro, "Performance in EDM - A Study and Analysis of DJing and Live Performance Artists" (2018). Capstone Projects and Master's Theses. 364. https://digitalcommons.csumb.edu/caps_thes_all/364 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Magaña 1 Jose Alejandro Magaña Senior Capstone Professor Sammons Performance in EDM - A Study and Analysis of DJing and Live Performance Artists 1. Introduction Electronic Dance Music (EDM) culture today is often times associated with top mainstream DJs and producers such as Deadmau5, Daft Punk, Calvin Harris, and David Guetta. These are artists who have established their career around DJing and/or producing electronic music albums or remixes and have gone on to headline world-renowned music festivals such as Ultra Music Festival, Electric Daisy Carnival, and Coachella. The problem is that the term “DJ” can be mistakenly used interchangeably between someone who mixes between pre-recorded pieces of music at a venue with a set of turntables and a mixer and an artist who manipulates or creates music or audio live using a combination of computers, hardware, and/or controllers. -
Workplace Harassment in the Contemporary Music Industries of Australia and New Zealand
TUNESMITHS AND TOXICITY: WORKPLACE HARASSMENT IN THE CONTEMPORARY MUSIC INDUSTRIES OF AUSTRALIA AND NEW ZEALAND by Jeffrey Robert Crabtree Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy under the supervision of Professor Mark Evans and Doctor Susie Khamis University of Technology Sydney Faculty of Arts and Social Sciences August, 2020 CERTIFICATE OF ORIGINAL AUTHORSHIP I, Jefrey Robert Crabtree, declare that this thesis is submitted in fulfillment of the requirements for the award of Doctor or Philosophy in the School of Communications at the University of Technology Sydney. This thesis is wholly my own work unless otherise referenced or acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. This document has not been submitted for qualifications at any other academic institution. This research is supported by the Australian Government Research Training Program. Signature: Production Note: Signature removed prior to publication. Date: ii ACKOWLEDGEMENTS I wish to acknowledge the incredible support of my wife, who was not only very encouraging but also incredibly understanding whilst in the throes of completing her own doctorate at the same time as this study. I acknowledge my two highly talented daughters who inspire me with their creativity. Both of them have followed music careers and this research was undertaken in the hope that the working environment of the music industry will become a more welcoming space for women. I also wish to recognise my extraordinary supervisors, Professor Mark Evans and Doctor Susie Khamis, whose wise counsel and steady hands have guided this work. -
Led Zeppelin R.E.M. Queen Feist the Cure Coldplay the Beatles The
Jay-Z and Linkin Park System of a Down Guano Apes Godsmack 30 Seconds to Mars My Chemical Romance From First to Last Disturbed Chevelle Ra Fall Out Boy Three Days Grace Sick Puppies Clawfinger 10 Years Seether Breaking Benjamin Hoobastank Lostprophets Funeral for a Friend Staind Trapt Clutch Papa Roach Sevendust Eddie Vedder Limp Bizkit Primus Gavin Rossdale Chris Cornell Soundgarden Blind Melon Linkin Park P.O.D. Thousand Foot Krutch The Afters Casting Crowns The Offspring Serj Tankian Steven Curtis Chapman Michael W. Smith Rage Against the Machine Evanescence Deftones Hawk Nelson Rebecca St. James Faith No More Skunk Anansie In Flames As I Lay Dying Bullet for My Valentine Incubus The Mars Volta Theory of a Deadman Hypocrisy Mr. Bungle The Dillinger Escape Plan Meshuggah Dark Tranquillity Opeth Red Hot Chili Peppers Ohio Players Beastie Boys Cypress Hill Dr. Dre The Haunted Bad Brains Dead Kennedys The Exploited Eminem Pearl Jam Minor Threat Snoop Dogg Makaveli Ja Rule Tool Porcupine Tree Riverside Satyricon Ulver Burzum Darkthrone Monty Python Foo Fighters Tenacious D Flight of the Conchords Amon Amarth Audioslave Raffi Dimmu Borgir Immortal Nickelback Puddle of Mudd Bloodhound Gang Emperor Gamma Ray Demons & Wizards Apocalyptica Velvet Revolver Manowar Slayer Megadeth Avantasia Metallica Paradise Lost Dream Theater Temple of the Dog Nightwish Cradle of Filth Edguy Ayreon Trans-Siberian Orchestra After Forever Edenbridge The Cramps Napalm Death Epica Kamelot Firewind At Vance Misfits Within Temptation The Gathering Danzig Sepultura Kreator -
Imogen Heap As Musical Cyborg: Renegotiations of Power, Gender and Sound
Proceedings of the 4th Art of Record Production Conference 1 University of Massachusetts Lowell. 14th – 16th November 2008 Imogen Heap as Musical Cyborg: Renegotiations of Power, Gender and Sound Alexa Woloshyn Faculty of Music, University of Toronto, Canada [email protected] Abstract instruments, including cello, clarinet (Retka), and a “hilarious keyboard with boss-nova presets” (Gilbey 2005). Imogen Heap, British electronica artist, has had a Her first significant opportunity to experiment with successful solo and collaborative career since her 1998 electronic music technology was at the private boarding release of I Megaphone. She became a widespread name in school she attended as a young teenager. Heap clashed with 2004 after the song ‘Let Go’ from her collaborative album her music teacher, who punished her by sending her alone to with Guy Sigsworth, Details, was used in the film Garden a small room. Left in the room with an Atari computer, State. Following this success, Heap returned to solo work with Mac Classic 2 and Notator, and the large manual, Heap and released Speak for Yourself in 2005. Through an began to experiment and gained an interest in building her analysis of Heap’s musical development from her earliest own studio (Gilbey 2005). She formalized her training in musical experiences to her latest solo endeavors, this paper production at the BRIT school of Performing Arts & demonstrates Heap’s renegotiations of power, gender and Technology in Croyden, Surrey, from 1992 until 1995. sound allowed by the reconfigurations of institutional and In 1998, Heap released her first solo album I Megaphone commercial structures, which were enabled by the with Almo Sounds. -
Tiesto's Club Life Radio Channel to Launch from Miami Music Week on Siriusxm
Tiesto's Club Life Radio Channel to Launch from Miami Music Week on SiriusXM Live event with Tiesto for SiriusXM listeners to be held at SiriusXM's Music Lounge SiriusXM's Electric Area and BPM channels to broadcast performances and interviews live from Ultra Music Festival NEW YORK, March 20, 2012 /PRNewswire/ -- Sirius XM Radio (NASDAQ: SIRI) announced today that Tiesto's Club Life Radio channel will officially launch from the Ultra Music Festival in Miami on Friday, March 23. (Logo: http://photos.prnewswire.com/prnh/20101014/NY82093LOGO ) The 24/7 commercial-free channel, featuring music created and curated by electronic dance music superstar DJ and producer Tiesto, will launch with an event during Miami Music Week: Tiesto spinning live on air for SiriusXM listeners at the SiriusXM Music Lounge. The special will also feature sets by artists on Tiesto's Musical Freedom Label, including Dada Life and Tommy Trash. The special will air live beginning at 2:00 pm ET on Tiesto's Club Life Radio; and will also air live on Electric Area, channel 52. "I'm really excited to be launching Club Life Radio with SiriusXM," said Tiesto. "They are the perfect partners and it will be an awesome way to showcase the incredible artists on my own label, Musical Freedom, play new material of my own as well as other music that I'm really passionate about." "With the launch of Tiesto's Club Life Radio, we are confirming our role as a leader in dance music," said Scott Greenstein, President and Chief Content Officer, SiriusXM.